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Ismael D. Tabije
Asset management is the method that a company uses to track fixed assets like factory equipment, desks and chairs, computers, even buildings. Although the exact details of the task varies widely from company to company, asset management often includes tracking the physical location of assets, managing demand for scarce resources, and accounting tasks such as amortization.
The most common usage of the phrase asset management is in terms of the financial services industry. Here it is used to describe the management of assets invested on behalf of a range of sectors including: collective investment schemes, pension funds and so-called private banking or wealth management (typically for wealthy individuals).
To assist businesses and organizations in asset management, many asset management software have been developed and are now available in the market. In choosing the particular asset management software appropriate for your organization, quite a number of factors need to be considered.
It is also referred to as Investment management, or the professional management of various securities (shares, bonds etc) and other assets (e.g. real estate), to meet specified investment goals for the benefit of the investors. Investors may be institutions (insurance companies, pension funds, corporations etc.) or private investors (both directly via investment contracts and more commonly via collective investment schemes e.g. mutual funds).
The provision of `investment management services` includes elements of financial analysis, asset selection, stock selection, plan implementation and ongoing monitoring of investments.
The most successful investment firms in the world have probably been those that have been separated physically and psychologically from banks and insurance companies. That is, the best performance and also the most dynamic business strategies (in this field) have generally come from independent investment management firms.
John Baldessari - Galleria Primo Piano, Rome, ItalyArtForum , March, 1994 by Massimo Carboni
GALLERIA PRIMO PIANO
John Baldessari has always played with the enormous capacity of images to free meaning; that is, stylistically (and thus ideologically) to communicate their representational contents to an observer whose relationship to the image is, perceptually, one of stimulus-response, or, psychologically, more probing than usual.
In this exhibition, Baldessari showed three pieces; seven other pieces were shown simultaneously at the Klemens Gasset gallery in Bolzano. All the work consisted of photomontages in which a pragmatic, direct relationship to the observer is developed. Large object (orange) in water and blue moon, 1991, is typical: a large paint stain covers the area of the image where the focal point the narrative crux of the story, should be. It is likely that something dramati is taking place there, in this case in a swimming pool, but we cannot see it; Baldessari lets us see only the surprised and alarmed reactions of the other swimmers, who all look in one direction, toward the place where something "is happening"--which, for those of us looking at the photomontage, is only a painted stain. The predominant psychological and semiotic logic of the image thus also constitutes the moment of reception.
In Clouds (incomplete): two sailboats/chaotic situation, 1992, the upper part o the work depicts a scene where two sailboats, one "treated" in red, the other i green, are about to cross paths beneath a sky filled with puffy clouds that see to have been taken from Romantic painting. In violent contrast, the lower portion shows a sort of meeting hall, apparently caught by the photographic len at the moment after an explosion, with overturned and broken chairs and confusion throughout. The realism of both images further heightens the contrast between them.
The third piece, Two birds (feeding): playthings/nature: passer-by/money (with lamp), 1992, belongs to a recent series, "Open Works." The formal construction of the piece is very different from the first two; there is a mix between the usual rectangular format and silhouettes of reproduced figurative elements and the cutout shapes of photographed objects. What comes to mind is the Berlin Dad avant-garde movement (John Heartfield, for example), which turned photomontage into its strongest weapon. Here there is no directly political message, but a refined play of associations between money, children`s toys, and animals that feed off each other, all images arranged on the wall to form a sort of arch, th bases of which are represented by rectangular pieces that contain images of California landscapes and vegetation. The images, filtered through the media that Baldessari uses, are taken apart and then reassembled according to a logic that is different from the one that governed their creation. It is a logic of pure poetry or of a simple personal interest in certain aspects of individual and social experience, a logic that probes the pragmatic and the rhetoric of images, or that analyzes the processes behind the formation of public opinion.
COPYRIGHT 1994 Artforum International Magazine, Inc.
COPYRIGHT 2004 Gale Group
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